Brooklyn Quarter's New Film Shot with URSA Mini Pro 12K OLPF

Brooklyn Quarter's New Film Shot with URSA Mini Pro 12K OLPF

Brie Clayton June 20, 2025

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Shot on steps of an LA home, micro comedy Pooped also used Blackmagic Cloud and DaVinci Resolve.

Blackmagic Design today announced that Brooklyn Quarter, a Los Angeles based creative collective, shot its new award winning film Pooped entirely on the Blackmagic URSA Mini Pro 12K OLPF digital film camera. The film, which recently won best short film at the Stockholm City Film Festival, completed editing, color correction and audio post work using DaVinci Resolve Studio along with Blackmagic Cloud.

Brooklyn Quarter is a storytelling collective and production company that has curated an amazing community of creators, shooting everything from high quality web series and films to multi camera live productions and podcasts.

Cofounders Danielle Beckmann and Timothy Reese have decades of filmmaking experience and are among top speakers at conventions such as Comic-Con and WonderCon.

Through Brooklyn Quarter, Beckmann and Reese have built a successful filmmaking business aimed at constantly innovating and taking advantage of every video and film medium possible to get their work recognized, sold and watched. To do this, they have built a constantly growing workflow designed around Blackmagic Design hardware and software.

There has never been a better time to be a creator. If you have a vision, go make it happen. The days of a chosen few getting picked by some big studio as the only way to make a living as a creator are gone. The technology is there now for everyone to be an entrepreneur that can build a life around their own creative talents, Beckmann explained.

Pooped is a perfect example of Brooklyn Quarter's drive to always be creating. Telling the story of how two strangers turn their bad days around through a dog, the film evolved out of a pitch by the dynamic actors Maggie Hood (The Americans) and Benj Thall (Homeward Bound: The Incredible Journey) first done as an acting exercise, then brought to fruition by Brooklyn Quarter. From there, Beckmann developed an original script by Paulina Alvarez.

The film was shot in eight hours with a small crew and all done from a front door and walkway in front of a house in Los Angeles. Even with resource and location constraints, the vision was to create a Hollywood level looking film that showed a wide range of emotions.

Reese, the film's DP, as well as a writer, director, cinematographer and visual artist, explained the film's vision and workflow: The initial prompt for the look was a cheery, bright, and an almost cotton candy light heartedness.

Pooped exists in a slightly turned up world that harkens back to the romantic comedies of the very early aughts.

We shot on our beloved URSA Mini 12K OLPF, in 12K BRAW Q5 and 17:9. I've come to really rely on the flexibility of the BRAW codec for color in post, which takes such a weight off when shooting quickly. And it's hot outside in the LA summer, and when you're uncomfortable you want your gear to be steady and reliable without much fiddling. I just focused on exposure ranges and contrast, knowing the Blackmagic color science would work its magic.

He continued: Director Kyle Tye and I set a few challenges for ourselves, wanting to go with mainly locked off shots relying as little as possible on inserts, as well as keeping to a strict continuity of sides. Our URSA Mini 12K OLPF did the heavy lifting for a rapid schedule.

And it's remarkable the image quality and depth you get from the 12K sensor, because you know there's enough in the BRAW codec to cover anything you might miss. I could set framing, pull focus, and keep my attention on Maggie and Benj's performances rather than get buried under settings.

Editing was also done by Tye, with color correction done by Richard Galli, a filmmaker who has worked on a mix of large and small films and TV series in both production and post.

Reese explained the film's post production workflow: We did a top to bottom workflow in Resolve, from ingest to export, and made heavy use of Blackmagic Cloud. It's remarkable how simple it is to hop in and out of an edit with collaborators. Folks have different specialties, and there's a Resolve workspace for each: Kyle tackled the edit, Richard came in for color, and then I closed out the sound design and score mixing in Fairlight. DaVinci Resolve, all the way down.

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